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| Acadêmicos do Salgueiro | |
|---|---|
| Name | Acadêmicos do Salgueiro |
| Founded | 1953 |
| Location | Andaraí, Rio de Janeiro |
| Colors | Red and White |
| President | (varies) |
| Theme | Samba-enredo |
Acadêmicos do Salgueiro is a prominent samba school based in the Andaraí neighborhood of Rio de Janeiro, Brazil. The school participates annually in the Rio de Janeiro Carnival parade at the Sambadrome Marquês de Sapucaí and has won multiple championships, drawing attention from spectators at Praça Onze, tourists from Copacabana, and journalists from O Globo. Its cultural influence extends into the favelas of Tijuca, the artistic circles around Lapa, and Brazilian music institutions such as the Museu do Samba.
Salgueiro traces roots to grassroots blocos and community groups in Andaraí, merging influences from pedra do Sal, Estácio de Sá, and Mangueira during mid-20th century transformations that involved figures linked to Rádio Nacional, TV Globo, and the Ministério da Cultura. Early leaders interacted with personalities associated with Noel Rosa, Cartola, and João do Vale while battles with rival schools like Portela, Imperatriz Leopoldinense, and Unidos da Tijuca shaped competitive strategies. The school's trajectory intersected with national events including the military regime and the redemocratization movement, involving activists connected to Rio de Janeiro City Hall, Fundação Cultural, and unions around Praça Onze. Over decades Salgueiro mobilized composers and carnavalescos who had worked with Paulo Barros, Joãosinho Trinta, and Leandro Vieira, adapting to changes in Sambadrome regulations set by Liga Independente das Escolas de Samba (LIERJ) and Liga das Escolas de Samba do Rio de Janeiro (LIESA).
Salgueiro's visual identity combines red and white colors displayed on flags, estandartes, and alegorias designed by carnavalescos often compared with artists who collaborated with Escola de Samba Mangueira, Grande Rio, and Mocidade Independente de Padre Miguel. Symbols reference Afro-Brazilian heritage through connections to Candomblé terreiros, quilombola communities, and cultural icons such as Zumbi dos Palmares, Gilberto Gil, and Jorge Ben Jor. Masks and fantasias evoke historical figures like D. Pedro II, Zumbi, and Princesa Isabel and draw on iconography studied by researchers at Universidade Federal do Rio de Janeiro, Museu Nacional, and Instituto Moreira Salles. Salgueiro's bateria, similarly, carries traditions linked to Mestre Neguinho, Mestre Sala and Porta-Bandeira roles that resonate with practices in Portela and Estação Primeira de Mangueira.
The school's governance includes a presidente, diretor de carnaval, mestre-sala, porta-bandeira, and core composers who network with producers at Som Livre, Discos CBS, and independent labels. Membership spans puxadores, percussionistas, passistas, and comissão de frente members who previously collaborated with artists like Alcione, Seu Jorge, and Beth Carvalho. Administrative structures interact with public institutions including Secretaria de Cultura, Câmara Municipal do Rio de Janeiro, and neighborhood associations in Andaraí and Tijuca. Volunteer cadres include youth from favela outreach programs, alumni linked to Colégio Pedro II and Universidade Federal Fluminense, and professionals connected to Theatro Municipal, Sala Cecília Meireles, and Petrobras Cultural.
Salgueiro's parade themes have evoked figures and narratives associated with Luis Gama, Machado de Assis, and Ariano Suassuna, staged in the Sambadrome with alegorias referencing Museu do Amanhã, Praça Mauá, and Catedral Metropolitana. Notable parades featured collaborations with carnavalescos comparable to Joãosinho Trinta, Paulo Barros, and Rosa Magalhães and featured guest artists such as Marisa Monte, Caetano Veloso, and Milton Nascimento. Memorable moments involved dispute adjudications by LIESA, television broadcasts by Rede Globo, and critiques published in Folha de S.Paulo and Veja. The bateria performances have paralleled innovations seen at Beija-Flor, Salgueiro’s rivalries with Portela and Mangueira often shaped championship outcomes.
Salgueiro's recorded samba-enredos and studio albums have been released on labels such as EMI, Som Livre, and Biscoito Fino and featured composers who worked with Chico Buarque, Cartola, and Zé Keti. Recordings influenced MPB artists including Gilberto Gil, Maria Bethânia, and Gal Costa and contributed to anthology projects curated by Fundação Getúlio Vargas, Museu da Imagem e do Som, and the Brazilian Academy of Letters. The school's catalog includes collaborations with maestros affiliated with Orquestra Sinfônica do Rio de Janeiro and arrangers connected to Conservatório Brasileiro de Música and Escola de Música da UFRJ.
Salgueiro engages in social initiatives coordinated with NGOs, Fundação Roberto Marinho, and municipal programs targeting youth from Rocinha, Vidigal, and Complexo do Alemão; partnerships involve Instituto Ayrton Senna, UNESCO-affiliated projects, and local health campaigns run with Instituto Nacional de Infectologia Evandro Chagas. Programs emphasize musical education, percussion workshops hosted at Casa do Samba, cultural preservation with Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), and vocational training tied to Serviço Nacional de Aprendizagem Comercial (SENAC) and Serviço Social do Comércio (SESC).
Alumni and affiliates include puxadores and composers who worked with Alcione, Beth Carvalho, Zeca Pagodinho, Paulinho da Viola, and Martinho da Vila; carnavalescos who collaborated with Rosa Magalhães, Joãosinho Trinta, and Leandro Vieira; and percussion masters akin to Mestre Neguinho da Beija-Flor and Mestre André. The school’s network connects to cultural figures such as Nelson Sargento, Cartola, João Nogueira, and Dona Ivone Lara, as well as public figures who participated in Carnaval initiatives including governors of Rio de Janeiro, mayors of Rio, and Ministers of Culture.
Category:Samba schools of Rio de Janeiro